Meyer's Longsword 101 - Chapters 5 & 6 - Parrying, handworks and the withdrawal
- HEMA 101 admin
- 4 days ago
- 16 min read
Updated: 13 minutes ago
See part 1 here: Meyer's longsword 101 - Chapters 1-4. As before, yellow text is my own, the rest is a rewrite of Meyer's 1570 book into concise plain English. I've selected what videos I could find that I think illustrates the technique.
Contents:
Chapter 5: Handworks
Some useful advice about parrying
Fencing is built on two key ideas: attacks (cuts) and defenses (counteractions or Versetzen). Every cut can serve both purposes—striking the opponent and deflecting their blade. That’s why understanding counteractions is just as essential as learning how to strike.
There are two types of counteraction:
Passive defense – where you block simply to avoid harm, without trying to control the fight. Following the parry you should quickly follow up with a cut to your opponent to regain the initiative.
Active defense – where you parry and strike at the same time, turning defense into offense. This is the method praised by old masters.
You should avoid over-relying on passive defense. A skilled fencer responds with their opponent: if they cut, you cut; if they thrust, you thrust. But likewise, this doesn't mean blindly cutting at your opponent regardless of what they are cutting at you, as this isn't fencing, it's a peasant's brawl! [Meyer talks about the use of cuts as parries, and by this we can surmise that cuts are used as defense rather than simply static blocks with the sword.]
Examples:
A High Cut beats most downward cuts if timed right and followed with a second strike.
A Wrath or Horizontal Cut can counter a High Cut if you step and strike strongly.
Some cuts, like the Crosswise, Squinter, or Clash, are designed to defend and hit in one motion.
"If two identical cuts with their assigned steps thus occur together, so that one steps a little before or after the other, as that also occurs in the blink of an eye, the cuts also bring their counteraction into play. This counteraction is included in the first and straight cuts. The second counteraction is that you simultaneously counteract and and hit, which occurs with the inverted cuts, like the Squinter, Clash, Crown, and Crosswise cut."
Editor's note: Chapter 21 of my longsword beginners' syllabus includes videos on the use of the master cuts as counter attacks: Beginner's Guide to Fencing with the Longsword
Other techniques like the Short Cut or Failer don’t counter or hit—they're situational tricks to confuse or provoke but carry more risk.
Handworks
This passage sets the stage for the next major phase of fencing: Handwork—the close-range, fast-paced techniques used after you’ve come into contact (or “the bind”) with your opponent’s blade.
It emphasizes that knowing guards and cuts isn’t enough. True skill lies in how you press your advantage once contact is made—using deceptive, fluid, and forceful movements to outmaneuver and overcome your opponent. This includes actions like:
Misleading and Chasing to provoke and follow
Doubling, Changing, and Winding to bypass their defense
Absetzen (setting aside), Zucken (pulling), and Duplieren (doubling) for control and counters
Many others like slicing, running off, pressing hands, or even grabbing and running in
Each of these forms a building block of what happens in the heat of an exchange—what the text calls "the Middle". The upcoming section promises to break down this broad toolkit into specific techniques, with names and instructions, so the fencer can act with clarity and precision at the moment when the blades meet.
This is where Meyer could have done with a good editor. I'm sure Meyer presented the handworks in an order that made sense to himself - there does seem to be some sort of flow to the techniques, but it can also seem quite random. I've therefore reordered the handworks and grouped them into three categories:
general actions/concepts
disengaging actions (i.e. those that cut away or move away from the opponent's sword)
engaging actions (those that move into and aim to control the opponent's sword).
General
Disengaging actions
Engaging actions
General
I see these as general concepts:
Binding/Remaining/Feeling [Anbinden/Bleiben/Fühlen]
This passage unpacks the concept of “remaining”—when blades are in contact during a bind—and distinguishes two types:
Passive remaining: You and your opponent hold pressure in the bind to feel them out—gauging where they want to strike, their intent, and how committed they are. This is where the principle of Feeling (Fühlen) comes in: sensing whether their blade is firm (hard) or yielding (soft).
Active remaining with deception: After landing a cut, you act as if you're withdrawing or recovering, but instead you flick your blade obliquely back in using the short edge, striking at the same spot you just attacked with the long edge.
Both forms rely on contact and sensitivity. The goal isn’t just to hold the bind but to read it, deceive, and seize control.
I would direct the reader towards my post on the bind in the earlier German longsword tradition: Liechtenauer's longsword 101 - part 9: Binds and Winds
Chasing [Nachreisen]
When your opponent makes an overextended cut—too high, too low, or too wide—you quickly pursue and strike into their opening, stopping their action. It’s especially useful against wide, sweeping cuts. Watch where their sword begins: if they lift from a high guard like the right Ox to strike or switch sides, immediately cut underneath with a deceptive attack that lands as they move. Use actions that strike and counter in the same beat.
If they rise from a low guard—left or right—track their lift and follow with a disguised cut under their sword using your long edge, targeting the nearest opening right as they begin.
Basically, if you can attack them to the place they just moved their sword from, whether they are simply changing guard or making their own cut, this is Chasing. You need to make sure that your attack defends against their attack either by simultaneously parrying it or by avoiding their blow entirely.
I'm going to make the distinction between chasing the sword and chasing the opening. From other sections, such as the section on slicing off and the deceptions, it seems both are possible. When you defend you chase the sword, when you attack you chase the opening. When you feint/deceive, you encourage your opponent to chase the sword and then you turn back and chase their opening.
Deceiving [Verführen]
Deceiving means showing one attack to draw your opponent’s attention, then striking somewhere else—where you can hit safely and effectively.
Many techniques fall under this, like Squinter cuts, Failing, etc. But Deceiving isn’t just about sword movement; it also comes from your body language—how you carry yourself, gesture, and move.
These cues aren’t fixed techniques, but reflections of your fencing personality. Some fight with aggression, others with calm precision; some move fast, others slow. Misleading adapts to your natural rhythm and style.
The deceptions are contained in the disengaging actions, although this doesn't mean engaging actions can't also be used as deceptions.
Disengaging actions
These are basically ways to circumvent your opponent's sword so you can get from one side to the other, presumably to make attacks or feints, but potentially defensive actions too.
Striking around [Umschlagen]
“Striking around” means that when your blade is bound from your right to their left, you pull back from the bind and strike around to the other side—often as a flick or quick hit.
Running off [Ablaufen]
When you bind your opponent’s blade—no matter which side—immediately turn your hand so the short edge drops down. At the same time, raise your hilt upward into a high line to strike [around to the other side]. This works from either side.
Slinging [Schlaudern]
Slinging is simply a cut launched with whipping force at your opponent’s head. Start in the guard of the Fool. As you pull your sword back near your right side, step in with your right foot and let the cut fly forward like a stone from a sling—fast, direct, and with momentum.
I think Meyer might just be referring to a cut from above that starts from a low guard. Imagine cutting in an infinity pattern: you will basically be slinging your next cut once you get down into the change guard. This pattern allows you to switch from one side to the under underneath your opponent's sword.
Flying away/vanishing [Verfliegen]
Flying away works like this: when you strike at an opening and your opponent rushes to intercept your blade mid-air, don’t let them catch it. Instead, pull the cut back with a sweeping motion and redirect it to a different opening. This is effective against opponents more focused on chasing your sword than actually landing a hit.
Although Flying away is described as a deception, in a broader sense I take it to mean reversing the direction of your cut, so if you were cutting a zorn from the right, you would change direction and cut an Unterhau from the left. We can therefore consider this a way to cut around to the other side of a bind once the bind has been made. If it is done before the bind is made, it is a deception.
Snapping around [Umschnappen]
There are two types of snapping around:
Offensive Snap: After using Inversion to bind their arm or blade, lock it down with your crossguard and let your blade snap around at their head during the bind.
Defensive Snap: If they use Inversion to press you down, step your left foot toward their right to yield. As you do, bring your pommel over their right arm, pull it downward, and snap your blade underneath theirs with the short edge to strike their head—your hands finishing crossed.
When you are in the Krumphau on top, you can use the running off pattern to snap around and attack your opponent from above. If you are underneath in the Krumpahu you can use the same motion to escape out from underneath your opponent's blade, and snap around with a cut, ideally also wrenching your pommel over your opponent's hands.
Failing [Fehlen]
Failing means intentionally missing a strike to draw out a reaction, then hitting elsewhere. Many can fake, but true skill lies in timing it well and recovering advantage.
When you strike at an opening and your opponent moves to counter, don’t let the blades meet. Instead, drop downwards [I interpret this to mean using Running off], let it fall away, and redirect to another opening.
For example: From right Wrath guard, step in and cut toward their left ear—up near their blade—but before contact, lift your pommel and let the blade drop [Run off?] beside their left. Then loop your sword over your head and cut to their right side from the outside, striking their head.
See the second video under Zucken. For me, Failing is about using the running off pattern to change the direction of your cut, which distinguishes it from Flying away.
Pulling [Zucken]
Pulling is clever handwork for deceiving your opponent. After binding with the long edge or landing a cut, quickly pull your sword upward as if switching sides—but instead, snap the short edge back down to strike again at the original target.
While Meyer teaches Zucken as a way to remise your attack on the same side of your opponent's sword, earlier German sources suggest it is a way to cut over your opponent's blade to the other side. The 'Taking off' pattern in the video under 'Running off' is quite a good model for what Zucken might be. There are other interpretations of Zucken that turn it into a 'pulling towards you' motion, and this also works well.
Doubling [Duplieren]
Doubling is a way to strike twice in quick succession. First, cut from your right toward their ear with the long edge. When the blades meet, push your pommel under your right arm, lift both arms, and hit again—this time using the short edge behind their blade, targeting their head.
Basically, this is Zorn then a sort of Schielhau/Zwerchau behind the blade with crossed hands.
Circle [Zirkel]
When you're locked in a high bind and neither side wants to give an opening, use the Circle. Cut downward with crossed hands and the short edge past their right side, keeping your hands above your head. As you do, cross your right hand hard over your left so the cut can brush or reach their right ear.
If they then strike downward at your blade, sidestep right or pull back, and follow with a direct hairline cut at their head.
Starting from a bind with your opponent's sword on your left, you Krumphau over their blade and then Schielhau over it again back to the original side.
Round [Rinde/Rund/Ründe]
The Round has two versions—single and double.
Single Round: Pull your sword back from their blade or opening and swing it once over your head in a circular motion.
Double Round: Withdraw more forcefully, letting the sword circle twice—once over each side of your head.
Both forms can be used for deception, and you’ll see in later techniques when each one is most effective.
Changing through [Wechsel]
Changing through is a skilled tactic, best used by experienced fencers. Poorly timed, it exposes you; used well, it outmaneuvers those who target your blade instead of your body.
It comes in several forms:
Switching sides mid-onset
Changing stances before striking
Changing through a cut—like throwing a High cut from your right, then dropping the point to strike the opposite side if they go for your blade
If they try to beat or wind against Longpoint, let your point drop and change through. Keep changing until an opening appears or their guard weakens—then strike.
If you are familiar with Rapier, smallsword, modern sport fencing etc., you will recognise this as a disengage under the blade, or a cavazione.
Engaging actions
I take these to be motions that aim to control the sword. They generally move 'into' the sword rather than try to work around it.
Setting off/aside [Absetzen]
All fencing actions rely on two things: striking and displacing the opponent’s blade. This handwork shows the proper way to displace—by receiving the strike at an angle, not by cutting back.
As soon as your deflection makes contact, strike into their opening while stepping sideways, almost as if you're launching the attack fresh from the onset.
If they cut down from above, raise your long edge into their attack while stepping your right foot toward their left to deflect. The moment it connects, turn to your short edge and flick at their head.
I'm going to assume that Absetzen is essentially to put aside the opponent's sword with the strong of our blade, which allows us to maintain our point online. In earlier German traditions, and in modern HEMA practice, the Absetzen is basically a counter-thrust used as a parry, but since Meyer's longsword does not include thrusts, the Absetzen is transformed into a true edge parry followed by a false edge cut, done as a single fluid motion. It allows us to both chase the sword and chase the opening at the same time.
Slicing Off [Abschneiden]
To perform the Slice Off: hold your sword long out front, or drop into the guard of the Fool. If your opponent throws long cuts, use the long edge to slice them away to either side—repeatedly, until an opening appears and you can transition to a better technique.
Chasing is subtly involved in this action, and the slice itself is hidden enough that even Liechtenauer emphasizes it in his verse: “Slice off the hard / from both dangers.” In short, use slicing to deflect strong strikes from either side and create space for follow-up work.
This is where we need to look at Meyer's rapier section for a clearer explanation. There he makes it clear that slicing off is done as a slice (or basically an extension into the guard of Eisenport) on top of the opponent's blade. I think this is done with a step to the side away from their attack, and we cut at or just off the opponent's shoulder across the strong of the opponent's blade, ending in a position with hilt low and point high. This is done from the Change guard, not Fool, which allows us to sweep our sword over the incoming attack from left to right or right to left.
I'm going to justapose the Abschneiden with the Absetzen: to Slice off is to put aside the opponent's sword with the weak of our blade, which puts our point offline. We therefore chase the sword, not the opening.
Slicing [Schneiden]
Among handwork, the slice is a key technique—your best option when you're overwhelmed by fast, aggressive attacks. Always keep it in mind as a counter.
Here's how to use it: once you've bound their sword, pause briefly to feel their next move. If they try to beat around, follow with your long edge onto their arm, press them back using the strong or Schilt, and break away with a cut to the nearest opening before they can reset.
Basically, like Slicing off but targeting the arms, done when the opponent pulls away from the bind. In this case, the slice is targeting the opening, that opening being the arms of the opponent.
Blocking [Verstillen]
Blocking is used to shut down fast, aggressive work. If your opponent rushes to attack the four openings—especially overhead—drop your long edge onto their arms or sword with a slice and stop them from lifting again.
Keep pressure on with the slice, following their movement to lock them down and deny further attacks. When you spot your moment, shove them back with the slice and launch a cut at the nearest opening.
I'm not really sure how this differs to the slice.
Pressing Hands [Händedrücken]
Hand Pressing is similar to slicing at the arm—it just shifts between high and low lines.
If someone attacks with heavy downward strikes, come underneath using a Crown or Hanging guard to catch their blade on the flat of yours. As they begin to lift away from your bind, follow with the strong of your sword and drop your Schilt or ricasso under their hands. Catch both fists with the strong of your edge, press them upward and away, and follow with a long cut to the nearest opening.
Basically, the slice but from below.
Wrenching [Außreissen]
If you bind from your right, invert your sword in the bind and pull left, so that you end up beside your opponent. From there, try to get your pommel under their arms and yank upward—or, if you’ve come over their arms with the pommel, yank downward. The motion depends on your position and will appear again in later plays.
Similar to what is described in the snap around, but you also have the option to wrench upwards from underneath.
Sliding [Verschieben]
From right Wrath, if your opponent strikes at you, let your blade hang behind, then sweep it over your head and under their blade. Catch their strike on the flat of your sword, with your thumb resting beneath the Schilt or ricasso. From there, you’re set to wind or continue with whatever follow-up technique suits the situation.
Hanging [Hängen]
"Hanging should be clearly understood from the previous [example]. Execute it thus: When you stand in Plow, and your counterpart cuts at you, lift your hilt upward so that the blade hangs somewhat toward the ground, and receive their strike on your flat blade. Then work with winding at the closest opening."
See video from Forte Swordplay under the Change Cut in chapter 4. This is a very basic move used as a parry. We should also think of the hanging as a position we can wind into or out of.
Inverting [Verkehren]
Inversion begins by binding their blade to your left. As contact is made, push your pommel under your right arm while pulling your head well to the right to slip clear of any threat. Then, with your hands crossed, press their blade or arm down and away to shut down their options—giving you the space to strike freely.
Basically, it's a krumphau done from a bind.
Barring [Sperren]
If your opponent stands in Change or the guard of the Fool, drop down onto their blade using the long edge. As it contacts or clashes, cross your hands and bind their blade so they can’t escape. If they strike from the front, do the same—drop down with crossed hands to block and trap their weapon.
The same as inverting, but done to cover the opponent's sword when they have it low, particularly with their blade off to the side a little. You don't need to touch their blade for this to work, you only need to make it so they have to go around your blade to attack you.
Winding [Winden]
“Winding” means turning your blade inward while staying in contact with your opponent’s sword. When you’ve bound their blade from your right, stay firmly in the bind and rotate the front of your blade inward toward their head and out again—keeping steady pressure below their sword.
For example: if they cut from Tag, bind their blade from your right with a Crosswise cut. As the blades meet, drive your pommel under your right arm and flick your short edge inward at their head, staying heavy on their blade.
If they react to the flick or try to pull away from above, pull your pommel back up toward your left and strike again with the short edge—this time from a Crosswise angle at their left ear.
In earlier German longsword, winding is the act of moving your blade from Och to Plough and vice versa, on either or both sides, to line the point up for a thrust and to take control of the opponent's sword with your strong. Meyer seems to be a bit different, using wind as the act of twisting, often passing your pommel under your arm in order to snap cut the false edge or flat at their head. You can think of winding as the act of twisting into Scheilhau or Zwerchau when in the bind in order to hit your opponent.
I'm going to define winding as the act of rotating your sword about its central axis in order to make the blade point up or down, left or right. We can wind in to get the point towards the opponent, or wind out to get the point away.
Winding Through [Durchwinden]
"When you have bound on with a Crosswise cut, and you have, as previously mentioned, wound the short edge inward toward your counterpart’s head, step through with your right foot between you and them toward the opponent’s right side, and simultaneously wind your hilt through under their blade to your left side and move your pommel outwardly over their right arm. Step back with your right foot and simultaneously yank downward out to your right side. Hit with the long edge at their head. Thus, you have both wound through, but also grabbed over [übergreifen] with the pommel."
If winding involves the rotation of the sword about its axis, winding through is to wind so far that your pommel goes over your opponent's arms.
Gripping over [Übergreifen]
Grip Over works like this: cut from your right at their upper left opening. As you cut, slide your fingers over the crossguard or Schilt—keeping your thumb on the hilt. With your left hand, lift the pommel and strike downward with the hanging blade over or behind their attempted defense.
Running in [Einlauffen]
Running in simply means moving in under their sword until the blades meet. It's the entry phase for grappling or throwing.
Chapter 6: Regarding the withdrawal
So far, you’ve learned how to attack with cuts and how to approach safely in the handwork. But that’s not complete without a good withdrawal—the third key action. So, next, Meyer will give you proper guidance on how to withdraw safely and effectively
A strong start means little if the end is sloppy—so knowing how to withdraw is just as important as attacking well. There are three ways to exit safely:
Withdraw before your opponent:
Push them back with pressure and combos.
As they pause to react, cut through and retreat before they can follow.
Withdraw after your opponent:
Wait for them to leave the bind or break off.
Either chase their blade as they go.
Or fake your own retreat, prompting them to chase—but strike into their opening as they overreach.
Withdraw Simultaneously:
Stay above their blade as both of you cut and step away.
If they exit right, step to their left; if they exit left, step to their right—always maintaining control.
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